July 26, 2010
Murakami's two stories—which alternate, chapter by chapter—are told by two narrators, who split duties here. Ian Porter is the baritone, thoughtful and deliberative; Adam Sims is lighter spirited, flightier, and more amused by the bizarre comedy of Murakami's puzzle box. Both readers are well chosen, expertly picking their way across the minefield of this intoxicating, perplexing story. And their balancing act mimics the book's alternation of tones, styles, and stories. The recording is studded by occasional studio sound effects that are hardly necessary, but do manage to cleverly amplify the woozy, trippy disorientation of the tale. A Vintage paperback.
March 1, 1993
Murakami's lightning prose more than sustains the elaborate plot of this thriller, set in a Tokyo of the near future.
September 2, 1991
There ought to be a name for the genre Murakami ( A Wild Sheep Chase ) has invented, and it might be the literary pyrotechno-thriller. The plot here is so elaborate that about 100 pages, one-fourth of the book, elapse before its various elements begin to fit together, but Murakami's lightning prose more than sustains the reader. Embellished with witticisms, wordplay and allusions to such figures as Stendhal heroes and Lauren Bacall, the tale is set in a Tokyo of the near future. Thanks to a wonderland of technology, an intelligence agent has had his brain implanted with a ``profoundly personal drama'' that allows him to ``launder'' and ``shuffle'' classified data, and all that he knows of the drama is its password, The End of the World. But after interference from a scientist and from the Semiotecs, a rival intelligence unit, the subconscious story is about to replace the agent's own perceptions of reality. Intertwined with the agent's attempts to understand his plight are scenes from The End of the World. Murakami's ingenuity and inventiveness cannot fail to intoxicate; this is a bravura performance.